Female Relative Badges were issued to the nearest female relative (usually wives or mothers) of those who engaged in active service overseas during the First and Second World Wars. Two Female Relative Badges were issued during the First World War. One was issued to the nearest female relative of soldiers, airmen, nurses, and masseuses who left Australia for active service abroad; the other to the nearest female relative of members of the Royal Australian Navy (RAN) who had enlisted for general naval sea service for at least a period of the war, and who performed service outside Australian waters. A bar was suspended below the badge to indicate additional relatives involved in the war effort. The Female Relatives Badge was promulgated under Military Order 280 of 1917 and superseded by Military Order 1818 of 1918. (Australian War Memorial )So many Moorabbin Shire young men volunteered to serve in 1st AIF during WW1 . This caused great hardship for farming families especially due to the heavy manual labour that the Women had to undertake to maintain food production for Australia and overseas . This medal may be associated with Alonzo Sheldrake Box who served at Gallipoli and France Circular Silver medal with Crown , Blue engraving and pin clasp on back . A silver bar is attached Around edge ; Issued by Dept. of Defence to Women of Australia Centre cut out : A I F On Bar : For Duty Done On Back : Stokes & Sons 57691world war 1914-18, moorabbin shire, early settlers, pioneers, box alonzo, box william, australian military medals, anzac, gallipoli, sheldrake martha, box elizabeth, box mary louisa, closter mary, war memorials, a

Rev Dr Djiniyini Gondarra OAM, was born in Milingimbi, eastern Arnhemland in 1945. He was educated at Milingimbi Mission School and pursued his theological education as a youth leader and Sunday School teacher through the Methodist Church, before attending college in Brisbane. In 1969 he trained as a Minister in Papua New Guinea and the Solomon Islands under the Uniting Church, before returning to Arnhemland to minister his own people at the Galiwin’ku parish, firstly as a lay pastor (1971-1972) and then as a Minister from 1976-1982. In 1983-84, Rev Djiniyini worked as a Lecturer in Theology at Nungalinya College, Darwin. He was honoured with a Diploma of Theology (Honorary) from there in 1984, and in 1991 received a Cultural Doctorate in Literature (Honorary) from the World University, Roundtable, Arizona USA. Rev Djiniyini was awarded the Order of Australia Medal (OAM) in 1995. As well as being the Chairman of ALPA since 1993, Rev Djiniyini is currently the Director of Duduy’ngu Pty Ltd, which provides consultancy and cross-cultural services. He is also Director of Yirrkala Business Enterprises. Over the years, Rev Djiniyini has served on many committees and councils including: Member of the Steering Committee of the Australian Indigenous Cultural Network (1998-2001), CEO of Aboriginal Resource and Development Services Inc (1998-2001), CEO of the Northern Regional Council of the Uniting Aboriginal and Islander Christian Congress (1998-2001), Director of Reconciliation Australia Limited (2000-2001), Member of Council for Aboriginal Reconciliation (1998-2000), Chairman of Uniting Aboriginal and Islander Christian Congress (1995-2000 & 1990-1993), Member of Central Committee of the World Council of Churches (1991-1994), Moderator of Northern Synod, Uniting Church in Australia (1985-1987), Secretary of newly formed Aboriginal Presbytery, Northern Synod, Uniting Church in Australia (1985), and Vice-President of Uniting Aboriginal and Islander Christian Congress Uniting Church in Australia (1983-1987). Rev Dr Djiniyini Gondarra OAM has also been extensively published, and his works include: • Information Papers (co authored), Aboriginal Resource and Development Services: • Confusion Between Cultures (1998) • MHead & Shoulders of Djiniyini Gondarra facing right of picture."Rev. Djiniyini Gondarra 1986. Moderator Northern Synod and Vice President of Uniting Aboriginal and Islander Christian Conference."gondarra, djiniyini, uaicc, northern synod uca

Tatting is a form of knotted lace making using thread and a small shuttle. Twisted threads are tied around or through small, pointed shuttles that can be made of bone, mother of pearl, tortoise shell, steel or plastic. This produces a stable, strong lace using simple knots of two half hitches to make rings and chains embellished with picots. The origins of tatting are not clear but early versions of decorative knotting were used by the Egyptians on their ceremonial dress. Tatting also has elements of fishermen's net making techniques and the decorative knotting that was practiced by aristocratic women from the 15th century. Tatting, as we know it today, emerged in the first half of the 19th century. The new availability of mercerised thread from 1835 encouraged a burgeoning of lace crafts of all sorts. It was known in Italy as "occhi" and in France as "la frivolite". Tatting looks fragile but is both strong and durable. An article in a column named "Wives and Daughters" published in the Star newspaper in May 1910 describes the durability of tatting lace - "there is edging and insertion still in existence that have outworn two sets of pillow slips." In the 19th century and well into the 20th century, tatting was used like crochet and knitted lace for decorative edgings, collars, doilies, tray cloths etc. At first, different tatting patterns were passed along by word of mouth from person to person, however in time, patterns regularly appeared in newspapers and magazines well into the 1950's. This book has photographs and detailed instructions for a wide range of tatted edgings and insertions suitable for household linens such as towels, doilies and tablecloths as well as patterns for whole mats. Stanley E. Mullen (a businessman) developed Semco Pty Ltd which began as a Melbourne based importation company in 1907. The first three letters of Semco's name were his initials. In 1915 it began manufacturing women's apparel, whitework and transfer patterns. In 1924 the company moved to Black Rock, Victoria and continued to produce an extensive range of needlework patterns and handcraft instruction booklets, threads etc. up until the late 1970's. Semco had a staff that included many young women. It was noted by E.J. Trait (editor of the local newspaper "Standard News") that the firm provided them with good working conditions and the correct rate of pay for women in a time of war - the starting rate for 15 year olds, mainly girls at Semco was 25 shillings per week. During World War 2, Manpower Regulations could be used to coerce workers to move into jobs that supported the war effort, but Trait argued that being employed at Semco could make this unlikely as the firm made some goods essential for the war effort. He even suggested that women be encouraged to produce needlework items (and play a part in the war effort) by sending them as presents, to the troops up north. He also heaped praise on the Semco workplace - noting that no Saturday work was the norm, allowing employees to shop and have "hair-do's" before enjoying a relaxing weekend! Semco also had a female cricket side in the women's Saturday association. After the war the firm stayed in production until the early 1990's when it was taken over by Coates-Paton Pty Ltd. Norma Benporath (1900 - 1998) was an expert in tatting techniques and taught and published extensively on the subject. She was born in New Zealand with impaired sight but cataract surgery restored 50% vision to one eye. She was inspired to learn tatting whilst watching her aunt tat and being told that tatting did not require as much sharp vision as embroidery. She quickly learnt to design her own patterns and published over 1000 tatted lace patterns between 1929 and 1952. She became a regular contributor to magazines (such as Home Beautiful) and newspapers across Australia. Her designs were also published in New Zealand, South Africa as well as the U.K. and U.S.A. When Semco, a thread manufacturer, noticed a rise in the sale of fine crochet threads, they realized they had an untapped market to explore. Norma designed a collection of tatting patterns for Semco that were used to help promote their threads. Norma also worked with Semco to produce a line of threads and shuttles specifically suited to tatting. In 1997, Norma was inducted into the "Order of Australia" for "Service to the craft of tatting as a designer and through the international publication of her patterns".This item is an excellent example of the needle work being enjoyed by women in the 1940's in Australia and the skills of the Australian designer, Norma Benporath. It is also an example of the trend that emerged for craft companies such as Semco to publish pattern books in order to advertise their own materials.A 32 page soft cover instruction book with green front and back covers showing two tatted doily designs. The book includes black and white photographs and written patterns by Norma Benporath.Front cover - "TATTING" "For / EXPERTS/ and / BEGINNERS" "By/Semco" "SEMCO INSTRUCTION BOOK" "No. 16" "WITH ILLUSTRATIONS AND INSTRUCTIONS" "9" Back cover - "FOR INSTRUCTIONS FOR WORKING SEE PAGE 22" "Published by Semco Pty. Ltd." "BLACK ROCK, 29, VIC"flagstaff hill maritime museum and village, warrnambool, great ocean road, tatting, tatting instruction book, tatting patterns, tatting shuttle, semco, semco pty ltd, norma benporath, needlework, handcrafts, household linen, craftwork

Eltham's original Wesleyan Methodist Church Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p97 The pretty Uniting Church building at the corner of John and Main Roads Eltham has served the community since 1881.1 Originally called the Eltham Wesleyan Church, the church became the Eltham Methodist Church in 1902, the year it united with the Primitive Methodists.2 As the church community developed, influencing and being influenced by the wider community, its buildings changed accordingly. Eltham Wesleyans first worshiped together in 1850 at the home of William and Mary Crozier on 24 acres (9.7ha) bounded by Mount Pleasant Road and Pitt Street. From 1855 the Wesleyans worshipped in a slab-and-bark hut; then in 1858 in a chapel on Henry Street close to Maria Street (now Main Road). Meanwhile, in 1860, the Primitive Methodists opened a brick chapel at the corner of Susan and Bridge Streets. The John Street building – in the Early English Gothic style with biochrome brick window frames, buttress heads and pinnacle – was designed by architects Crouch and Wilson. Church member George Stebbing built the church as he did Eltham’s St Margaret’s Anglican Church and Shillinglaw Cottage. The Church Honour Roll is a poignant reminder of how church members have served the wider community: 27 members enlisted and 11 died in World War One. Despite the Great Depression, 1931 was a time of expansion for the church. Its red-brick hall was opened by prominent Methodist and philanthropist F J Cato of the Moran and Cato Grocery chain. The hall enabled the church to attract people from outside through activities like its gymnasium – with 40 boys and youth participating – and the girls’ callisthenics club, which competed at the Ballarat South Street Competitions. The church also held concerts, bazaars, picnics and sports, with badminton and tennis played on the church court at 23 John Street. Two stained-glass windows commemorate tragic events. A dove representing the Holy Spirit and Comforter marked the death in 1936 of member Effie Lowerson from scarlet fever at 14 years. The other depicting the Biblical story A sower went forth to sow, commemorates Ross Gangell, who died in 1961 at 23 years of a rare blood condition. Eltham’s population expanson resulted in the growth of the church and an extension in 1971, designed by member and architect Colin Jones. The church was linked to the hall and additions included a foyer, vestry, meeting room and toilets. The design reflected the Eltham style of the time, with its simplicity, extensive clear glass, reused baked clay-bricks from the 1881 church, heavy ceiling beams and solomite (compressed straw) ceiling. On June 26, 1977 the church became part of the new Uniting Church in Australia consisting of the former Methodist and Congregational and most of the Presbyterian Churches. In 1981 membership peaked at 159 – about 20 years after most Protestant churches – and continued to reach out to the wider community.3 In 1987, 147 children attended Selihoo, the weekly after-school program organised with St Margaret’s Anglican Church. From 1993, the church with other local churches, participated in LINC (Love in the Name of Christ), helping the wider community in various ways including babysitting, transport, gardening and visiting. Despite such initiatives, church numbers declined, and on June 23, 1996, the church merged with the Montmorency Uniting Church.4 However, the church continued to proclaim its message of love in community service and strong social justice action, such as in Jubilee 2000, supporting debt relief to the world’s 45 poorest countries. Some of the many church members who have had an outstanding impact on the wider community include Philip Shillinglaw, farmer and poet, and Arthur Bird (after whom the Arthur Bird Reserve is named), a pioneer orchardist and the Sunday School Superintendent for 33 years. Others were: the Rev Dr Cliff Wright, who established the Methodist Youth Fellowship and was prominent in the World Council of Churches, the Rev Brian Howe, who became Deputy Prime Minister and Tim Marshall, awarded the Order of Australia in 2000 for his work on salinity.This collection of almost 130 photos about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7, 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. nillumbik now and then (marshall-king) collection, eltham uniting church, eltham methodist church

Ferguson’s Paddock, Hurstbridge. A plaque on a boulder commemorates Peter Brock. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p167 On a rock in Ferguson’s Paddock, Hurstbridge, a plaque commemorates Peter Brock. It includes the words: ‘Boy from Hurstbridge without special privileges, grew to become champion of racetracks around the world but he never forgot his beginnings’. Brock came from a well-established local family. Born in Hurstbridge in 1945, he lived in Anzac Avenue as a child, attended the Hurstbridge Primary and Eltham High Schools and lived in the district most of his life. His father Geoff owned the Diamond Valley Speed Shop in Greensborough. Brock’s forbears were amongst the area’s earliest settlers. From Scotland, the Brocks arrived in Tasmania in 1830, to graze sheep. Family members moved to Sunbury, then Preston, grazing sheep in the Bundoora area. John Brock owned Janefield, possibly named after his wife. In 1855 he granted around two acres (0.8ha) of his estate for a school.1 In 1866 Lewis Brock bought 264 acres (107ha) in Nutfield, the first non-Aboriginal person to own that land. They planted an orchard, then from around 1935, Brock’s uncle Sandy and his grandfather Lewis, ran a dairy on the property. In the 1980s Brock and his then partner Bev, bought most of the property, which they sold after their separation in 2006.2 Brock’s father was a Hurstbridge Football Club President, but Brock’s uncle Sandy, of Brocks Road, Doreen, has been particularly active in local affairs. He was President of the Mernda Football Club (then Plenty Rovers), President of the Panton Hill Football League and he founded the Arthurs Creek and District Landcare Group. He also gave more than 50 years of service to the Whittlesea Agricultural Society, the Volunteers for Australian Football and the Doreen Rural Fire Brigade. Community service was important to Brock too. Brock, with his then partner Bev, established the Peter Brock Foundation in 1997, the year he retired from full-time V8 Supercar racing. The Foundation’s grants have included $100,000 towards the upgrade of a walking track in the Hurstbridge Parklands and other projects include a holiday house for the families of child cancer victims.3 Brother Lewis saw Brock as a spiritual person, who had a great affinity with people. He saw Brock as a role model of someone who could achieve their dreams. ‘The family didn’t have much money, yet that didn’t stop Peter realising his dreams. He was strong and didn’t let difficult times crush him.’4 Despite his later successes, Brock’s most treasured trophy was for running 100 yards (91.4m)at his primary school in 1955, and he appreciated his head master Ted Griffiths’ encouragement of his sporting endeavours. At high school Brock became captain of Everard House. In his first year he bought a 1928 Austin 7 for £5. He cut the car into a box shape with an axe and enjoyed driving it – despite it having no brakes - at his grandparents’ farm at Nutfield. The turning point in Brock’s life came at age 23, when he built an Austin A30 in an old henhouse in Wattle Glen, using a Holden engine. He was laughed at until it won the Australian Sports Sedan Championship in 1968. Brock’s career then took off and he became a professional driver. Brock won Australian motor sport’s best-known event, the Bathurst 1000, nine times. Brock endured a bitter split from Holden in 1986 over control of his Holden-backed vehicle modification business and a car performance-enhancing device he called the ‘energy polariser’– despite it having no scientific evidence to support its claims. But Brock returned to Holden in 1994.5 Then in 1997, aged 52, Brock retired from fulltime V8 Supercar racing. However he continued to race at motor sport events. Brock won several awards, including an Order of Australia Medal in 1980, the Australian Sports Medal in 2000, and the Centenary Medal.6 On September 8, 2006, Brock died; after his car hit a tree during the Targa West Rally in Western Australia.This collection of almost 130 photos about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7, 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. nillumbik now and then (marshall-king) collection, ferguson's paddock, hurstbridge, peter brock memorial, peter brock

Sculture in bronze of Alan Marshall by Marcus Skipper, 1995 Alan Marshall, AM., O.B.E., Hon.LL,D. (1902-1984) was born at Noorat, Victoria and became one of Australia's most famous authors. His association with the Eltham area began in 1920 when he started his first job as a junior clerk at the Eltham Shire Offices, Kangaroo Ground. In the 1940's he spent some time living at Research. From 1955 he lived in Eltham for nearly 20 years. Disabilities resulting from polio as a young child did not prevent a wide range of experiences. Alan's occupations have been listed as clerk, night watchman, fortune teller, freelance journalist and author. He has been patron of many disadvantaged Children's Societies. Alan's books are numerous and include novels, short stories, children's books, history and travel. Among the best known are his autobiographies "I Can Jump Puddles" and "This is the Grass". Others include "These are My People", "Ourselves Writ Strange", "People of the Dreamtime"; "The Gay Provider" and "Wild Red Horses". In 1971 he wrote the Centenary History of the Shire of Eltham, "Pioneers and Painters". Covered under National Trust of Australia (Victoria), State significance. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p159 Outside the Eltham Library a bronze figure of a short one-legged man with a crutch invites people to the world of literature. The bronze statue, by Marcus Skipper, is of author Alan Marshall, who is famed for his autobiography I Can Jump Puddles, about growing up and overcoming the effects of polio. That plucky little boy later lived in the Nillumbik district for more than 50 years, and on his death in 1984, was buried in the Nillumbik Cemetery at Diamond Creek. Although a hugely successful author, his grave is modest with only a tiny boulder and simple bronze plaque on a grassed plot. From 1955 to 1972 Marshall lived in a tiny fibro-cement bungalow at the rear of a house at Park West Road, Eltham, owned by his older sister, Elsie McConnell. It was there that he wrote most of his autobiographical trilogy and his history of the former Eltham Shire, Pioneers and Painters. His long association with Eltham Shire began in 1918 when his family moved to Diamond Creek. Then in 1920 he began work as a junior clerk at the Eltham Shire Offices on Main Road, Kangaroo Ground near the Yarra Glen Road, while boarding at the hotel next door. Marshall later bought a block of land in Research, which had three bark huts. In one of these he wrote his first book These Are My People. He later sold the land but lived in a caravan there and in 1955 wrote I Can Jump Puddles.1 Proud of its citizen, the Eltham Shire named a park after Marshall at the corner of Main Road and Leanne Drive, Eltham. In 1985 the Shire initiated the Alan Marshall Short Story Award. It was Marshall’s early life in the country that taught him to live courageously in spite of his crippling polio, and he inspired many. This informed his writing – full of courage, championing the battler and love of the bush. Alan Marshall was born in 1902 at Noorat in Western Victoria, as the only son of Billy a drover, horse breaker, hawker and then general store owner. At the age of six, Marshall contracted infantile paralysis and was later hospitalised in Colac for 18 months. With his father’s encouragement, Marshall learnt to swim, wrestle and box, ride a bicycle (downhill), ride a horse and drive a car. Marshall won a scholarship to Stott’s Correspondence College to study accountancy. To help him continue his studies and find employment, his family bought 12 acres (4.8ha), in Ryans Road, Diamond Creek, opposite Windmill Court. There they ran cows, some poultry and an orchard. But life with a disability and during the Depression was hard for Marshall, who for 20 years, endured long periods of unemployment and loneliness and was often exploited at work.2 However, life improved in the 1930s, when he published short stories and articles in newspapers and magazines, including a column of advice to the lovelorn, which he wrote for nearly 20 years. At age 42 Marshall published his first book and in the next 30 years he published more than 20. His most successful book was I Can Jump Puddles, which sold more than three million copies internationally. It was made into a film, released in 1971, by Czechoslovakian director Karel Kachyna. Marshall was one of the first Australians to write about Aborigines who called him Gurrawilla - teller of tales - when he lived with them in Arnhem Land for eight months.3 In 1941 Marshall married Olive Dixon, with whom he had two daughters, Catherine and Jennifer. Marshall and Olive divorced in 1957. In 1972 Marshall was awarded an OBE for his work with the handicapped. He was also awarded an Honorary Doctor of Laws by Melbourne University, an Order of Australia for services to literature and the Soviet Order of Friendship of Peoples.This collection of almost 130 photos about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7, 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. nillumbik now and then (marshall-king) collection, alan marshall, art in public places, eltham, eltham library, marcus skipper, panther place, public art, sculpture

Art Gallery with mural painted by Clifton Pugh (1924-1990) at his Artists' Colony, Dunmoochin, Barreenong Road, Cottles Bridge. Following military service in the second world war, Clifton Pugh studied under artist Sir William Dargie at the National Gallery School in Melbourne as well as Justus Jorgensen, founder of Montsalvat. For a while he lived on the dole but also worked packing eggs for the Belot family saving sufficient to purchase six acres (2.4 ha) of land at Barreenong Road, Cottles Bridge. He accumulated more land and persuaded several other artists and friends to buy land nearby, resulting in a property of approximately 200 acres, stablishing it as one of the first artistic communes in Australia alongside Montsalvat in Eltham. It was around 1951 that Pugh felt he had '"done moochin' around" and so the name of the property evolved. He bought timber from Alistair Knox to build his house on the crest of a hill. Inspired by local goldminer's huts, it was a one room wattle-and-daub structure with dirt floor. Over the years it expanded with thick adobe walls made from local clay, high ceilings and stone floors. All materials other than the local earth were sourced from second hand materials, most found at wreckers' yards. Artists from across the nation were drawn to Dunmoochin, with several setting up houses and shacks on the property, maintaining their independence but sharing their artistic zeal. Artists who worked or resided at Dunmoochin included Mirka Mora, John Perceval, Albert Tucker, Fred Williams, Charles Blackman, Arthur Boyd and John Olsen. In 2002, Pugh's house along with its treasure trove of art and a library of some 20,000 books was destroyed by fire. Traces of Pugh's home remain with the presence of the Victorian doorframe archway with leadlight of intricate design, procured from a demolished Melbourne mansion; and two bronze life-sized female statues created by Pugh and cast by Matcham Skipper. In place of Pugh's house rose two double-storey mud-brick artists' studios topped with corrugated iron rooves curved like the wings of a bird with accommodation for seven. The original studios, gallery and other buildings survived the fire. Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p153 It’s not surprising that artist Clifton Pugh was drawn to Cottles Bridge to establish his artists’ colony Dunmoochin. Undisturbed by the clamour of modern life at Barreenong Road, Pugh was surrounded by the Australian bush he loved, and where his ashes were later scattered. The 200 acres (81ha) of bushland, broken by glimpses of rolling hills, has more than 50 species of orchids and Pugh shared his property with native animals including kangaroos, emus, phascogales, wombats, and diverse bird life. Pugh encouraged these creatures to join him in the bush by creating, with Monash University, a holding station where the animals were raised. Dunmoochin inspired Pugh for such paintings as in a book on orchids and the Death of a Wombat series.1 But his love for the bush was accompanied by the fear that Europeans were destroying it and much of his painting illustrated this fear and his plea for its conservation.2 However it was his house rather than the surrounding bush that was to be destroyed. Tragically in 2002 Pugh’s house, with its treasure of art and library of 20,000 art books, was destroyed by fire. Traces of the beauty of Pugh’s home still remain, however, in the magnificent Victorian doorframe archway with leadlight of intricate design procured from a demolished Melbourne mansion; and two bronze life-sized female statues created by Pugh and cast by Matcham Skipper. Now in place of Pugh’s house, are two double-storey mud-brick artists’ studios topped with corrugated roofs curved like birds’ wings, with accommodation for seven. The original studios, gallery and other buildings remain.3 Pugh grew up on his parents’ hobby farm at Briar Hill and attended the Briar Hill Primary School, then Eltham High School and later Ivanhoe Grammar. At 15 he became a copy boy for the Radio Times newspaper, then worked as a junior in a drafting office. Pugh was to have three wives and two sons. After serving in World War Two in New Guinea and Japan, Pugh studied under artist Sir William Dargie, at the National Gallery School in Melbourne.4 Another of his teachers was Justus Jörgensen, founder of Montsalvat the Eltham Artists’ Colony. Pugh lived on the dole for a while and paid for his first six acres (2.4ha) at Barreenong Road by working as an egg packer for the Belot family. Pugh accumulated more land and persuaded several other artists and friends to buy land nearby, resulting in the 200 acre property. They, too, purchased their land from the Belot family by working with their chickens. Around 1951 Pugh felt he had ‘Done moochin’ around’ and so the name of his property was born. Pugh bought some used timber from architect Alistair Knox to build his house on the crest of a hill. Inspired by local goldminers’ huts it was a one-room wattle-and-daub structure with a dirt floor. It was so small that the only room he could find for his telephone was on the fork of a tree nearby.5 Over the years the mud-brick house grew to 120 squares in the style now synonymous with Eltham. It had thick adobe walls (sun-dried bricks) made from local clay, high ceilings and stone floors with the entire structure made of second-hand materials – most found at wreckers’ yards. Pugh’s first major show in Melbourne in 1957, established him as a distinctive new painter, breaking away from the European tradition ‘yet not closely allied to any particular school of Australian painting’.6 Pugh became internationally known and was awarded the Order of Australia. He won the Archibald Prize for portraiture three times, although he preferred painting the bush and native animals. In 1990 not long before he died, Pugh was named the Australian War Memorial’s official artist at the 75th anniversary of the landing at Gallipoli. Today one of Pugh’s legacies is the Dunmoochin Foundation, which gives seven individual artists or couples and environmental researchers the chance to work in beautiful and peaceful surroundings, usually for a year. By November 2007, more than 80 people had taken part, and the first disabled artist had been chosen to reside in a new studio with disabled access.1 In 1989, not long before Pugh died in 1990 of a heart attack at age 65, he established the Foundation with La Trobe University and the Victorian Conservation Trust now the Trust for Nature. Pugh’s gift to the Australian people – of around 14 hectares of bushland and buildings and about 550 art works – is run by a voluntary board of directors, headed by one of his sons, Shane Pugh. La Trobe University in Victoria stores and curates the art collection and organises its exhibition around Australia.2 The Foundation aims to protect and foster the natural environment and to provide residences, studios and community art facilities at a minimal cost for artists and environmental researchers. They reside at the non-profit organisation for a year at minimal cost. The buildings, some decorated with murals painted by Pugh and including a gallery, were constructed by Pugh, family and friends, with recycled as well as new materials and mud-bricks. The Foundation is inspired by the tradition begun by the Dunmoochin Artists’ Cooperative which formed in the late 1950s as one of the first artistic communes in Australia. Members bought the land collaboratively and built the seven dwellings so that none could overlook another. But, in the late 1960s, the land was split into private land holdings, which ended the cooperative. Dunmoochin attracted visits from the famous artists of the day including guitarists John Williams and Segovia; singer and comedian Rolf Harris; comedian Barry Humphries; and artists Charles Blackman, Arthur Boyd and Mirka Mora. A potters’ community, started by Peter and Helen Laycock with Alma Shanahan, held monthly exhibitions in the 1960s, attracting local, interstate and international visitors – with up to 500 attending at a time.3 Most artists sold their properties and moved away. But two of the original artists remained into the new millennium as did relative newcomer Heja Chong who built on Pugh’s property (now owned by the Dunmoochin Foundation). In 1984 Chong brought the 1000-year-old Japanese Bizan pottery method to Dunmoochin. She helped build (with potters from all over Australia) the distinctive Bizan-style kiln, which fires pottery from eight to 14 days in pine timber, to produce the Bizan unglazed and simple subdued style. The kiln, which is rare in Australia, is very large with adjoining interconnected ovens of different sizes, providing different temperatures and firing conditions. Frank Werther, who befriended Pugh as a fellow student at the National Gallery Art School in Melbourne, built his house off Barreenong Road in 1954. Werther is a painter of the abstract and colourist style and taught art for about 30 years. Like so many in the post-war years in Eltham Shire, as it was called then, Werther built his home in stages using mud-brick and second-hand materials. The L-shaped house is single-storey but two-storey in parts with a corrugated-iron pitched roof. The waterhole used by the Werthers for their water supply is thought to be a former goldmining shaft.4 Alma Shanahan at Barreenong Road was the first to join Pugh around 1953. They also met at the National Gallery Art School and Shanahan at first visited each weekend to work, mainly making mud-bricks. She shared Pugh’s love for the bush, but when their love affair ended, she designed and built her own house a few hundred yards (metres) away. The mud-brick and timber residence, made in stages with local materials, is rectangular, single-storey with a corrugated-iron roof. As a potter, Shanahan did not originally qualify as an official Cooperative member.This collection of almost 130 photos about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7, 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. nillumbik now and then (marshall-king) collection, art gallery, clifton pugh, dunmoochin, cottlesbridge, cottles bridge, barreenong road

Following military service in the second world war, Clifton Pugh studied under artist Sir William Dargie at the National Gallery School in Melbourne as well as Justus Jorgensen, founder of Montsalvat. For a while he lived on the dole but also worked packing eggs for the Belot family saving sufficient to purchase six acres (2.4 ha) of land at Barreenong Road, Cottles Bridge. He accumulated more land and persuaded several other artists and friends to buy land nearby, resulting in a property of approximately 200 acres, stablishing it as one of the first artistic communes in Australia alongside Montsalvat in Eltham. It was around 1951 that Pugh felt he had '"done moochin' around" and so the name of the property evolved. He bought timber from Alistair Knox to build his house on the crest of a hill. Inspired by local goldminer's huts, it was a one room wattle-and-daub structure with dirt floor. Over the years it expanded with thick adobe walls made from local clay, high ceilings and stone floors. All materials other than the local earth were sourced from second hand materials, most found at wreckers' yards. Artists from across the nation were drawn to Dunmoochin, with several setting up houses and shacks on the property, maintaining their independence but sharing their artistic zeal. Artists who worked or resided at Dunmoochin included Mirka Mora, John Perceval, Albert Tucker, Fred Williams, Charles Blackman, Arthur Boyd and John Olsen. In 2002, Pugh's house along with its treasure trove of art and a library of some 20,000 books was destroyed by fire. Traces of Pugh's home remain with the presence of the Victorian doorframe archway with leadlight of intricate design, procured from a demolished Melbourne mansion; and two bronze life-sized female statues created by Pugh and cast by Matcham Skipper. In place of Pugh's house rose two double-storey mud-brick artists' studios topped with corrugated iron rooves curved like the wings of a bird with accommodation for seven. The original studios, gallery and other buildings survived the fire. Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p155 It’s not surprising that artist Clifton Pugh was drawn to Cottles Bridge to establish his artists’ colony Dunmoochin. Undisturbed by the clamour of modern life at Barreenong Road, Pugh was surrounded by the Australian bush he loved, and where his ashes were later scattered. The 200 acres (81ha) of bushland, broken by glimpses of rolling hills, has more than 50 species of orchids and Pugh shared his property with native animals including kangaroos, emus, phascogales, wombats, and diverse bird life. Pugh encouraged these creatures to join him in the bush by creating, with Monash University, a holding station where the animals were raised. Dunmoochin inspired Pugh for such paintings as in a book on orchids and the Death of a Wombat series.1 But his love for the bush was accompanied by the fear that Europeans were destroying it and much of his painting illustrated this fear and his plea for its conservation.2 However it was his house rather than the surrounding bush that was to be destroyed. Tragically in 2002 Pugh’s house, with its treasure of art and library of 20,000 art books, was destroyed by fire. Traces of the beauty of Pugh’s home still remain, however, in the magnificent Victorian doorframe archway with leadlight of intricate design procured from a demolished Melbourne mansion; and two bronze life-sized female statues created by Pugh and cast by Matcham Skipper. Now in place of Pugh’s house, are two double-storey mud-brick artists’ studios topped with corrugated roofs curved like birds’ wings, with accommodation for seven. The original studios, gallery and other buildings remain.3 Pugh grew up on his parents’ hobby farm at Briar Hill and attended the Briar Hill Primary School, then Eltham High School and later Ivanhoe Grammar. At 15 he became a copy boy for the Radio Times newspaper, then worked as a junior in a drafting office. Pugh was to have three wives and two sons. After serving in World War Two in New Guinea and Japan, Pugh studied under artist Sir William Dargie, at the National Gallery School in Melbourne.4 Another of his teachers was Justus Jörgensen, founder of Montsalvat the Eltham Artists’ Colony. Pugh lived on the dole for a while and paid for his first six acres (2.4ha) at Barreenong Road by working as an egg packer for the Belot family. Pugh accumulated more land and persuaded several other artists and friends to buy land nearby, resulting in the 200 acre property. They, too, purchased their land from the Belot family by working with their chickens. Around 1951 Pugh felt he had ‘Done moochin’ around’ and so the name of his property was born. Pugh bought some used timber from architect Alistair Knox to build his house on the crest of a hill. Inspired by local goldminers’ huts it was a one-room wattle-and-daub structure with a dirt floor. It was so small that the only room he could find for his telephone was on the fork of a tree nearby.5 Over the years the mud-brick house grew to 120 squares in the style now synonymous with Eltham. It had thick adobe walls (sun-dried bricks) made from local clay, high ceilings and stone floors with the entire structure made of second-hand materials – most found at wreckers’ yards. Pugh’s first major show in Melbourne in 1957, established him as a distinctive new painter, breaking away from the European tradition ‘yet not closely allied to any particular school of Australian painting’.6 Pugh became internationally known and was awarded the Order of Australia. He won the Archibald Prize for portraiture three times, although he preferred painting the bush and native animals. In 1990 not long before he died, Pugh was named the Australian War Memorial’s official artist at the 75th anniversary of the landing at Gallipoli. Today one of Pugh’s legacies is the Dunmoochin Foundation, which gives seven individual artists or couples and environmental researchers the chance to work in beautiful and peaceful surroundings, usually for a year. By November 2007, more than 80 people had taken part, and the first disabled artist had been chosen to reside in a new studio with disabled access.1 In 1989, not long before Pugh died in 1990 of a heart attack at age 65, he established the Foundation with La Trobe University and the Victorian Conservation Trust now the Trust for Nature. Pugh’s gift to the Australian people – of around 14 hectares of bushland and buildings and about 550 art works – is run by a voluntary board of directors, headed by one of his sons, Shane Pugh. La Trobe University in Victoria stores and curates the art collection and organises its exhibition around Australia.2 The Foundation aims to protect and foster the natural environment and to provide residences, studios and community art facilities at a minimal cost for artists and environmental researchers. They reside at the non-profit organisation for a year at minimal cost. The buildings, some decorated with murals painted by Pugh and including a gallery, were constructed by Pugh, family and friends, with recycled as well as new materials and mud-bricks. The Foundation is inspired by the tradition begun by the Dunmoochin Artists’ Cooperative which formed in the late 1950s as one of the first artistic communes in Australia. Members bought the land collaboratively and built the seven dwellings so that none could overlook another. But, in the late 1960s, the land was split into private land holdings, which ended the cooperative. Dunmoochin attracted visits from the famous artists of the day including guitarists John Williams and Segovia; singer and comedian Rolf Harris; comedian Barry Humphries; and artists Charles Blackman, Arthur Boyd and Mirka Mora. A potters’ community, started by Peter and Helen Laycock with Alma Shanahan, held monthly exhibitions in the 1960s, attracting local, interstate and international visitors – with up to 500 attending at a time.3 Most artists sold their properties and moved away. But two of the original artists remained into the new millennium as did relative newcomer Heja Chong who built on Pugh’s property (now owned by the Dunmoochin Foundation). In 1984 Chong brought the 1000-year-old Japanese Bizan pottery method to Dunmoochin. She helped build (with potters from all over Australia) the distinctive Bizan-style kiln, which fires pottery from eight to 14 days in pine timber, to produce the Bizan unglazed and simple subdued style. The kiln, which is rare in Australia, is very large with adjoining interconnected ovens of different sizes, providing different temperatures and firing conditions. Frank Werther, who befriended Pugh as a fellow student at the National Gallery Art School in Melbourne, built his house off Barreenong Road in 1954. Werther is a painter of the abstract and colourist style and taught art for about 30 years. Like so many in the post-war years in Eltham Shire, as it was called then, Werther built his home in stages using mud-brick and second-hand materials. The L-shaped house is single-storey but two-storey in parts with a corrugated-iron pitched roof. The waterhole used by the Werthers for their water supply is thought to be a former goldmining shaft.4 Alma Shanahan at Barreenong Road was the first to join Pugh around 1953. They also met at the National Gallery Art School and Shanahan at first visited each weekend to work, mainly making mud-bricks. She shared Pugh’s love for the bush, but when their love affair ended, she designed and built her own house a few hundred yards (metres) away. The mud-brick and timber residence, made in stages with local materials, is rectangular, single-storey with a corrugated-iron roof. As a potter, Shanahan did not originally qualify as an official Cooperative member.This collection of almost 130 photos about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7, 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. nillumbik now and then (marshall-king) collection, art gallery, clifton pugh, dunmoochin, cottlesbridge, cottles bridge, barreenong road

The horseshoes in this purpose-built display case were made by Thomas Alfred Chapman in 1906-1907. Chapman operated a blacksmith’s shop in Mortlake Rd, Purnim, about 15 mins drive from Warrnambool. Chapman made this horseshoe case especially for the 3rd Exhibition of Australian Manufacturers and Products, held in the Exhibition Building in Melbourne, which was organised and promoted by the Australian Natives Association (ANA). Reference is made to the horseshoe case in the Exhibition’s Souvenir Catalogue of 1907 on page 85, under the heading 'In the Machinery Section the following exhibits are also shown … 'CHAPMAN, T.A. , Woolsthorpe, via Warrnambool, Case of Horseshoes'. The Australian Natives’ Association (ANA) were a non-partisan and non-sectarian, friendly society founded in Melbourne, Australia in April 1871. It was set-up for the benefit of Australian-born white men, and membership was restricted exclusively to that group. Men of other races including the Chinese and Indigenous people were not allowed to join. The ANA had relatively progressive views on women (for the time) and attracted suffragists seeking support for their cause, and in 1894, the ANA advocated for women’s enfranchisement. Although, white women were only admitted as members from 1964. The organisation was most prominent in Victoria and sought to shape Australia’s national identity and was a training ground for businessmen, trade unionists and politicians including many of Australia’s early prime ministers such as Edmund Barton, Alfred Deakin, James Scullin and Francis Forde, and the first Australian-born governor-general, Isaac Isaacs, was a member. By 1910 it had developed into a nationwide association with real political and social influence, and members would participate in many activities. The ANA lobbied strongly for anti-Chinese legislation and were an ardent believer of colonial unification. Its mission and efforts are largely credited for the successful referendums that resulted in Federation of the six Australian colonies into a new nation, the association’s most important legacy. The ANA was also a supporter of trade protection, and were a staunch advocate of the first act of Australia's new parliament, the Immigration Restriction Act 1901 (cth) or commonly known as the White Australia Policy, which became one of the central pillars of Australian nationalism in the 20th-century. The ANA campaigned against the Australian Federal Government's new immigration policy after the Second World War (non-British immigration from southern and central Europe) in order to maintain a 'white Australia', and resisted changes when the Labor government during the 1970s fully dismantled and abandoned the White Australia Policy. The ANA merged with Manchester Unity Independent Order of Oddfellows, in 1993 to become Australian Unity Ltd. The display case of horseshoes changed hands several times, going from its maker Thomas Chapman to his mother then various other members of his family. The case was also displayed at the Lee Family’s butcher shop at 188 Liebig St Warrnambool, and in the Purnim Hotel during the Warrnambool May Races. In the late 1950s the horseshoe case went to Thomas’s son, Brian. He was a Master Farrier and completed his apprenticeship at Flemington Racecourse, and in Warrnambool he owned a blacksmith business at the Warrnambool Racecourse Grounds. Brian later operated a blacksmith’s at Flagstaff Hill, where his customers would bring their horses to be shod. Brian passed away in August 2017. The horseshoe case is significant as an example of trades in the early 20th century in Western Victoria, Australia. It is also significant as an example of horseshoes from the early 20th century. The horseshoe display case is also significant for its association with the Australian Exhibition of 1907, showcasing Australian produce and manufacturing to the world. The horseshoe display case is locally significant for its association with local families, essential businesses and community events. Display case of homemade horseshoes. Wooden case with glass front containing 16 horse shoes grouped in sets, each set with a label: Made 1906-1907 for Australian Exhibition of 1907 by Thomas Alfred Chapman of Warrnambool. The case contains (a) complete chrome set each of Trotting Shoes, Hunting Shoes and Racing Plates, and (b) one pair of Hind Polo Shoes and one pair of Front Aluminium Shoes. The wooden frame has gold lettering on each side proclaiming “Australian Natives Association, T.A. Chapman, horse shoer, Warrnambool” and is topped by a painted Australian coat of arms. Gold lettering on frame, in the order of top/bottom/ left/right “AUSTRALIAN.NATIVES.ASSOCIATION / T.A. CHAPMAN / Horse Shoer / Warrnambool”flagstaff hill, warrnambool, shipwrecked coast, maritime museum, shipwreck coast, horseshoe display case 1906-1907, chromed set of trotting shoes 1906-1907, chrome set of hunting shoes 1906-1907, chrome set of racing plates 1906-1907, pair of hind polo shoes 1906-1907, pair of front aluminium shoes 1906-1907, australian exhibition 1907, australian natives association (ana), t.a. chapman horse shoer warrnambool, thomas alfred chapman, brian chapman, brian “snacks” chapman, blacksmith warrnambool, warrnambool may races, warrnambool racecourse, purnim hotel, lee family’s butcher shop warrnambool

Mediating conflict in the age of Native Title Peter Sutton (The University of Adelaide and South Australian Museum) Mediators have played roles in managing conflict in Aboriginal societies for a long time. This paper discusses some of the similarities and differences between older customary mediator roles and those of the modern Native Title process. Determinants of tribunal outcomes for Indigenous footballers Neil Brewer, Carla Welsh and Jenny Williams (School of Psychology, Flinders University) This paper reports on a study that examined whether football tribunal members? judgments concerning players? alleged misdemeanours on the sporting field are likely to be shaped by extra-evidential factors that disadvantage players from Indigenous backgrounds. Indigenous and non-Indigenous Australian Football League (AFL) players, matched in terms of their typical levels of confidence and demeanour in public situations, were interrogated in a mock tribunal hearing about a hypothetical incident on the football field. The specific aim was to determine if the pressures of such questioning elicited behavioural differences likely to be interpreted as indicative of testimonial unreliability. Mock tribunal members (number = 103) then made judgments about the degree to which a number of behavioural characteristics were evident in the players? testimonies. Under intense interrogation, Indigenous players were judged as presenting less confidently and displaying a greater degree of gaze aversion than non-Indigenous players. These behavioural characteristics are commonly ? and inappropriately ? used as cues or heuristics to infer testimonial accuracy. The paper discusses the implications for Indigenous players appearing at tribunal hearings ? and for the justice system more broadly. Timothy Korkanoon: A child artist at the Merri Creek Baptist Aboriginal School, Melbourne, Victoria, 1846?47 ? a new interpretation of his life and work Ian D Clark (School of Business, University of Ballarat) This paper is concerned with the Coranderrk Aboriginal artist Timothy Korkanoon. Research has uncovered more about his life before he settled at the Coranderrk station in 1863. Evidence is provided that five sketches acquired by George Augustus Robinson, the former Chief Protector of Aborigines, in November 1851 in Melbourne, and found in his papers in the State Library of New South Wales, may also be attributed to the work of the young Korkanoon when he was a student at the Merri Creek Baptist Aboriginal School from 1846 to 1847. Developing a database for Australian Indigenous kinship terminology: The AustKin project Laurent Dousset (CREDO, and CNRS, Ecole des Hautes Etudes en Sciences Sociales), Rachel Hendery (The Australian National University), Claire Bowern (Yale University), Harold Koch (The Australian National University) and Patrick McConvell (The Australian National University) In order to make Australian Indigenous kinship vocabulary from hundreds of sources comparable, searchable and accessible for research and community purposes, we have developed a database that collates these resources. The creation of such a database brings with it technical, theoretical and practical challenges, some of which also apply to other research projects that collect and compare large amounts of Australian language data, and some of which apply to any database project in the humanities or social sciences. Our project has sought to overcome these challenges by adopting a modular, object-oriented, incremental programming approach, by keeping metadata, data and analysis sharply distinguished, and through ongoing consultation between programmers, linguists and communities. In this paper we report on the challenges and solutions we have come across and the lessons that can be drawn from our experience for other social science database projects, particularly in Australia. A time for change? Indigenous heritage values and management practice in the Coorong and Lower Murray Lakes region, South Australia Lynley A Wallis (Aboriginal Environments Research Centre, The University of Queensland) and Alice C Gorman (Department of Archaeology, Flinders University) The Coorong and Lower Murray Lakes in South Australia have long been recognised under the Ramsar Convention for their natural heritage values. Less well known is the fact that this area also has high social and cultural values, encompassing the traditional lands and waters (ruwe) of the Ngarrindjeri Nation. This unique ecosystem is currently teetering on the verge of collapse, a situation arguably brought about by prolonged drought after decades of unsustainable management practices. While at the federal level there have been moves to better integrate typically disparate ?cultural? and ?natural? heritage management regimes ? thereby supporting Indigenous groups in their attempts to gain a greater voice in how their traditional country is managed ? the distance has not yet been bridged in the Coorong. Here, current management planning continues to emphasise natural heritage values, with limited practical integration of cultural values or Ngarrindjeri viewpoints. As the future of the Coorong and Lower Murray Lakes is being debated, we suggest decision makers would do well to look to the Ngarrindjeri for guidance on the integration of natural and cultural values in management regimes as a vital step towards securing the long-term ecological viability of this iconic part of Australia. Hearts and minds: Evolving understandings of chronic cardiovascular disease in Aboriginal and Torres Strait Islander populations Ernest Hunter (Queensland Health and James Cook University) Using the experience and reflections of a non-Indigenous clinician and researcher, Randolph Spargo, who has worked in remote Aboriginal Australia for more than 40 years, this paper tracks how those at the clinical coal-face thought and responded as cardiovascular and other chronic diseases emerged as new health concerns in the 1970s to become major contributors to the burden of excess ill health across Indigenous Australia. The paper cites research evidence that informed prevailing paradigms drawing primarily on work in which the clinician participated, which was undertaken in the remote Kimberley region in the north of Western Australia. Two reports, one relating to the Narcoonie quarry in the Strzelecki Desert and the other concerning problematic alcohol use in urban settings.maps, b&w photographs, colour photographs, tablesstrzelecki desert, native title, timothy korkanoon, merri creek baptist aboriginal school, austkin project, coorong, lower murray lakes district, south australia, indigenous health

Elgin Shoes Pty., Ltd., established a branch shoe factory in Beechworth in 1946. Managing director, Mr T Nagle Pitman, selected Beechworth as a suitable location for the factory due to the availability of labour in the town, particularly girls under sixteen years of age. At its peak, the shoe factory employed thirty six women and girls, which also included post-war migrants. After the Second World War, Australia admitted increasing numbers of immigrants in order to fulfil labour requirements for a rapidly inflating demand of consumer goods. These migrants were largely from European Countries in line with the ‘White Australia Policy’. In 1954 Beechworth had 170 migrants from the UK, 102 from Hungary, and 63 from Germany. The factory closed in 1961 as increased centralisation of both populations and industry in the larger nearby towns of Wangaratta and Wodonga lead to the closure of many factories in small towns in the 1960s and 1970s. This photograph is historically significant as it shows the working conditions in a factory primarily staffed by women at some point between the late 1940s and early 1960s. Sepia rectangular photograph printed on matte photographic paperReverse: 14 / AFGA / 6982 / pitman shoe factory, elgin shoe company, industry, shoe factory, shoemaking, working women, post-war migration, factory, white australia policy, mid-twentieth century women's working conditions, twentieth-century working conditions, pitman, elgin, shoe, sewing machine, leather, pittman

This photograph was captured at an undisclosed location and at an unidentified time but likely dates to approximately 1870. The photographer's details are not recorded and the identities of the men in the image are also not known. This image depicts a group of 10 men in typical miners fashion. Four of them are sat on a large log with one holding a small dog. Six miners stand behind those sitting. All these men are wearing a white button-up shirt and tan coloured work trousers. They wear heavy boots and seven have included a dark vest over their shirt. The man holding the dog has a pipe in his mouth. Two of these men are clean shaven with the remainder sporting a moustache and two with a beard. The ages of these men vary from late 20s to middle age. This group of men are located in a mining location with what appears to be an open cut mine in the background of the image. The ground is muddy and has elements which can help identify it as a mining location based on the condition of the landscape. The bottom of the men's trousers are muddy which provides the assurance that these men were working in this location when their photograph was captured. In the background there is one structure, possibly a dwelling, and bush which identifies the location as Australia. Open cut sluicing is a method used to extract gold and other precious metals from beneath the surface of the earth. This technique involved the use of high-powered hoses which broke down the soil enabling miners to come along and search this soil for gold. After the gold rush of the early 1850s, diggers had to enlist the assistance of heavy machinery and techniques like hydraulic sluicing in order to reach gold because the surface alluvial gold had already been discovered and removed. This heavy machinery was not used until after 1853. The search for gold is ingrained into the history of Victoria and therefore, images like this one which portray an open cut sluicing site can reveal important information for society and technology for the date when the photograph was taken. This image is of important historical significance for its ability to convey information about sluicing and the methods used to find gold in the late 1800s and early 1900s. It also shows a location where sluicing was undertook which provides insight into the impact of sluicing on the environment at a time when it was done. Images, like this one, of Australian gold rush history can reveal important information about the social and environmental impact of this period. This image depicts diggers standing in a mining location and therefore, this image has the capacity to reveal or support significant information for researchers studying the fashion and social status of diggers in Australia in approximately 1870. It can also provide information on the landscape of Australia in this period and the impact of mining for gold on both society and the Australian landscape. The Burke Museum is home to a substantial collection of Australian mining photographs which can be used to gain a deeper understanding into life on the gold fields, technology used in mining, the miners themselves and the impact of the gold digging on the environment.Sepia toned rectangular photograph printed on matte photographic paper mounted on board.Reverse: 1997.2518mining, goldfields, beechworth, 1870, australia, australian goldfields, diggers, victoria, sluicing, gold mining, miners, diggers victoria

The Eurasian Jay is a small passerine bird occurring in Europe, northern Africa, and Asia. There are very distinct variations between the species of the Jay which assists in their identification. These birds inhabit mixed woodland, parks, orchards, and large gardens. They are generally solitary but can gather in large communal roosts during periods of cold weather. Eurasian Jays are known for their mimicry. They can often sound like a different species and during the day may mimic the birds they are attacking in order to confuse their opposition. This particular specimen has been mounted in an accurate but stylised fashion. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.The Eurasian Jay, as depicted in this specimen, has distinctive blue, white and dark brown stipes at the top of the wing. The body and head are light brown with a reddish undertone and there are streaks of dark brown at top the head. The tail, bottom of the wings and underneath the eyes are dark brown. This particular specimen stands upon a wooden mount and has an identification tag tied around its leg. It has pale coloured glass eyes which are accurate for this species.Swing Tag: [illegible] / to Sydney - N =99taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, bird, jay, eurasian jay, europe, european birds, blue stripes

Coorongite is a dark, rubber-like, highly resilient structureless algal deposit. In the Coorong district of South Australia it occurs in moderate quantities associated with the coastal swamps and sand dunes which extend for a considerable distance east of the mouth of the Murray. This particular specimen was recovered from the south of the Coorong River, South Australia. A type of sediment rich in organic matter, Coorongite is the unlithified end-member of the sapropelic coal series. The members of the sapropelic coal series can be ranked in order as sapropel (the unlithified form), sapropelic-lignite, and sapropelic-coal (the lithified forms) based on increasing carbon content and decreasing volatile content. Sapropel (Coorongite) is an unlithified dark, pulpy, fine organic mud containing concentrations of algae and miospores that are more or less identifiable. Coorongite is typically found as an algae like substance, that can be found in irregular size pieces. Coorongite was believed to be dried up oil due to its rubber-like texture. The Coorongite is also soft to the point where it can be cut into with a knife or it can be broken and torn by hand. Otherwise known as 'Kurangk', the Coorong River is home to the Ngarrindjeri people, which acts as both a place for gathering food and a spiritual place. In 1852 the first sight of Coorongite was found along the Coorong River. The finders mistook the Coorongite for dried up oil, which lead to the belief that there were oil reserves under the Coorong River. Between the 1860s and the 1930s the Coorong River became a place where mining oil and Coorongite became precedent. Nowadays, the local council and the South Australian Government are working together with the Ngarrindjeri people to sustain and preserve the Coorong River and the culture that is with it. Soon after gold was discovered in 1851, Victoria’s Governor La Trobe wrote to the Colonial Office in London, urging ‘the propriety of selecting and appointing as Mineral Surveyor for this Colony a gentleman possessed of the requisite qualifications and acquaintance with geological science and phenomena’. Alfred Selwyn was appointed geological surveyor in Australia in 1852 which began the Geological Survey of Victoria. Selwyn went on to collect geological samples and catalogue thousands of specimens around Australia. In 1853-69 the Geological Survey issued under Selwyn's direction sixty-one geological maps and numerous reports; they were of such high standard that a writer in the Quarterly Journal of the Geological Society of London bracketed the survey with that of the United States of America as the best in the world. During his years spent in Australia, Selwyn collected numerous significant geological specimens, examples of which are held in collections such as the Burke Museum.Coorongite is considered to be a mineral with a unique texture, where it can be both hard and soft. Coorongite can also be considered to be a rare mineral, as it is only located along the Coorong River and due to the mining of it, has left very few sources. It was believed at one point that Coorongite could be used to replace oil. This specimen is part of a larger collection of geological and mineral specimens collected from around Australia (and some parts of the world) and donated to the Burke Museum between 1868-1880. A large percentage of these specimens were collected in Victoria as part of the Geological Survey of Victoria that begun in 1852 (in response to the Gold Rush) to study and map the geology of Victoria. Collecting geological specimens was an important part of mapping and understanding the scientific makeup of the earth. Many of these specimens were sent to research and collecting organisations across Australia, including the Burke Museum, to educate and encourage further study.Three solid varyingly hand-sized pieces of wooden appearing organic matter derived from the river in the Coorong District in South Australia. A rubber-like, highly resilient structureless algal deposit.Specimen 245 page 69 / in Descriptive Register / "Elcestic Bitumen, / Coorangite" South of / Coorung River, South Australia . / C. WIllman / 15/4/21burke museum, beechwoth, indigo shire, beechworth museum, geological, geological specimen, mineraology, coorong, coorong river, kurangk, ngarrindjeri, south australia, coorongite, coorongite specimen

This photograph was taken in the 1960s at Lake Sambell Caravan Park and visible in the photograph are individual caravan sites with electricity outlets, a large single-story building with a caravan park banner, dirt roads, a freestanding message board, and a parked car. Lake Sambell Caravan Park opened in 1959 owing to the work of R.E. Carter, Beechworth Shire engineer from 1954-63. Carter advocated for improvements to the lake and surrounding area in order to encourage tourism in Beechworth. The opening of the caravan park was part of many improvements to Lake Sambell made in this period by Carter including: the swimming pool in 1961, water skiing and boating facilities, and increased lake surface in 1964. These improvements were financed mainly by grants from the Tourist Development Authority. The popularity of caravanning in Australia exploded during this post-war period of the late 1950s and 1960s. This popularity was driven by multiple factors, including: the stopping of fuel rations, the accessibility of car ownership through the manufacturing of affordable cars, technological developments in caravan design, and the increase in prosperity and leisure time for many Australians. Facilities such as electrical outlets to power caravans are present in this photograph of Lake Sambell Caravan Park. Lake Sambell is an artificial lake that was developed on the previous site of the Rocky Mountain Mining Company workings and was officially opened by Minister for Lands, Mr Baily, on October 5, 1928. The disused and unattractive remains of the mine were converted into a recreational area intended for swimming, boating, and fishing. The lake is named after Mr L.H. Sambell, shire engineer and secretary of the Forward Beechworth Committee, who advocated for the enhancement of Beechworth into a tourist destination and was central to the planning and establishment of the lake. This photograph is of historical and social significance in providing insight into caravanning during the 1960s in Australia. Caravanning was extremely popular during the 1960s in Australia due to multiple social and economic factors including the stopping of fuel rations, the accessibility of car ownership through the manufacturing of affordable cars, technological developments in caravan design, and the increase in prosperity and leisure time for many Australians.Black and white rectangle photograph printed on photographic paper and unmounted.Reverse: 3536/ [logo back printing: KODAK/ VELOX/ PAPER] / C798 lake sambell caravan park, lake sambell, caravanning 1960s, caravan park, rocky mountain mining company, kodak velox paper, r.e. carter, l.h. sambell, caravan electricity outlets, tourist development authority, post-war prosperity, forward beechworth committee, lake sambell boating, lake sambell swimming pool, lake sambell fishing, artificial lake, travel 1960s, recreation 1960s

This photograph was taken in the 1960s at Lake Sambell Caravan Park, visible in the photograph are individual caravan sites with electricity outlets, a large single-story building, a parked car, and two caravans partially obstructed by trees. Lake Sambell Caravan Park opened in 1959 owing to the work of R.E. Carter, Beechworth Shire engineer from 1954-63. Carter advocated for improvements to the lake and surrounding area in order to encourage tourism in Beechworth. The opening of the caravan park was part of many improvements to Lake Sambell made in this period by Carter including: the swimming pool in 1961, water skiing and boating facilities, and increased lake surface in 1964. These improvements were financed mainly by grants from the Tourist Development Authority. The popularity of caravanning in Australia exploded during this post-war period of the late 1950s and 1960s. This popularity was driven by multiple factors, including: the stopping of fuel rations, the accessibility of car ownership through the manufacturing of affordable cars, technological developments in caravan design, and the increase in prosperity and leisure time for many Australians. Facilities such as electrical outlets to power caravans are present in this photograph of Lake Sambell Caravan Park. Lake Sambell is an artificial lake that was developed on the previous site of the Rocky Mountain Mining Company workings and was officially opened by Minister for Lands, Mr Baily, on October 5, 1928. The disused and unattractive remains of the mine were converted into a recreational area intended for swimming, boating, and fishing. The lake is named after Mr L.H. Sambell, shire engineer and secretary of the Forward Beechworth Committee, who advocated for the enhancement of Beechworth into a tourist destination and was central to the planning and establishment of the lake. This photograph is of historic and social significance in documenting the enhancement of the Lake Sambell area overseen by R.E. Carter and providing insight into caravanning during the 1960s in Australia. Caravanning was extremely popular in Australia during the late 1950s and 60s due to multiple social and economic factors including the stopping of fuel rations, the accessibility of car ownership through the manufacturing of affordable cars, technological developments in caravan design, and the increase in prosperity and leisure time for many Australians. Black and white rectangle photograph printed on photographic paper and unmounted.Reverse: 3538/ [logo back printing KODAK/ VELOX/ PAPER] / C798lake sambell caravan park, lake sambell, lake sambell 1960s, lake sambell fishing, lake sambell boating, lake sambell swimming pool, r.e. carter, l.h. sambell, tourist development authority, caravanning 1960s, caravan electricity outlets, caravan park, forward beechworth committee, rocky mountain mining company, lake caravan park, caravan mid 20th century, beechworth tourism, travel in the 1960s, holiday 1960s

This specimen is Cassiterite in Quartz. Cassiterite is a tin oxide metal that forms in thin crystals which can have a beautiful lustre. Quartz is made of silicon dioxide, also known as silica, and is one of the most common minerals on earth. Cassiterite has been a fundamental source of tin ore for humans throughout history, including today. Tin is an important metal that has a wide variety of human uses in different areas, from dying fabric, to making mirrors, and their most well-known use ‘tin’ cans. Tin cans are primarily made of steel and are coated with tin in order to take advantage of tin’s property of being non-corroding. This is a massive step in the history of food preservation. Tinned food first reached Australia in 1815 with early settlers, and it began to be manufactured here in the 1840s. It was incredibly popular, and was a highly exported product, which would be a contributing factor to the ‘tin mining boom’ of the early 1880s. This specimen was collected at Jingellic, New South Wales, in about 1852. Although the Goldfields of the 1800s are much more well-known, tin mines existed alongside the gold mines which began in the mid 19th century and extended almost one hundred years, to the mid 20th century. Specimens like this would have been used as evidence to justify tin mining operations in the region as an investment. This specimen is part of a larger collection of geological and mineral specimens collected from around Australia (and some parts of the world) and donated to the Burke Museum between 1868-1880. A large percentage of these specimens were collected in Victoria as part of the Geological Survey of Victoria that begun in 1852 (in response to the Gold Rush) to study and map the geology of Victoria. Collecting geological specimens was an important part of mapping and understanding the scientific makeup of the earth. Many of these specimens were sent to research and collecting organisations across Australia, including the Burke Museum, to educate and encourage further study. The Geological Survey of Victoria was headed by British geologist, Alfred Richard Cecil Selwyn (1824-1902), who was responsible for issuing over 60 geological maps during his 17 years as director. These maps were all hand-drawn and coloured and became the benchmark for accuracy for geological mapping. Collecting geological specimens was an important part of mapping and understanding the scientific makeup of the earth. Many of these specimens were sent to research and collecting organisations across Australia, including the Burke Museum, to educate and encourage further study. A fist-sized solid geological specimen made on one half of tin oxide, which is dark grey, and on the other side of silica, which is brown and cream.burke museum, beechworth, geological, geological specimen

This ticket was for a grand ball to celebrate the second anniversary of the Loyal Orbost M.U.I.O.O.F. Lodge. It was held in the Mechanics Institute hall on Friday 20th July, 1888. The cost of a single ticket was 5/-. The secretary of the lodge was John Rowe, the first teacher of the state school in Orbost. From the estate of Elsie Cooke. Elsie Cooke lived all her life in Gippsland,. She was born at Brodribb in 1895 and died in 1970, Elsie Cooke lived at Bruthen for a short time and, in 1937, moved to live with her aunt, Miss Jean Munro. Miss Cooke was Librarian at the Mechanics Institute for many years. Kindness and consideration for other were Miss Cooke’s attributes and she endeared herself to all who knew her. She was a loyal member of the Presbyterian Church and a stalwart of the Ladies’ Guild, an energetic worker for the Municipal Auxiliary and a member of the Red Cross. (ref Mary Gilbert) Manchester Unity Independent Order of Oddfellows (MUIOOF) had its origins in Manchester, England. It was established in Melbourne on 7 December 1840 when Augustus Greeves, a member of the MUIOOF in England, migrated to Australia and formed the first friendly society. In 1840 Manchester Unity IOOF was founded in Victoria. Friendly Societies were founded in the Australian Colonies in the mid-19th Century by immigrants from England who had been members in Societies which dated back to the 18th Century. Like all working people these immigrants experienced sickness, accidents, unemployment, death and burial. They needed help of like fellows to tide their families over these times. So they formed a branch of one of the Friendly Societies back in the mother country. The idea was to make fixed contributions to a fund and when they were off work they would receive a payment. When they died funeral benefits would be paid and the widow and children would be cared for. It was a form of local insurance for hard times. This was a time of 'look after yourself' as the Colonial Governments did not provide pensions or benefits. This item reflects those times.A small white rectangular paper ticket with black print. It is for the Loyal Orbost Lodge M.U.I.O.O.F. Grand Ball.front - "Dancing to Commence at 8pm."public-event-orbost document-ticket m.u.i.o.o.f

Patriotic Fund Raising days were held in order to raise money and support for the soldiers fighting overseas. In the photograph are L to R: Marion Gilbert; Annie Nixon; Jean Cameron; Hattie Nixon and Grace Cameron' The Australian Red Cross Society (ARCS) was formed just after the outbreak of the First World War in August 1914, originally as a branch of the British Red Cross. It came into being as a branch of the British Red Cross Society on August 13th 1914 to succour the wounded in the First World War.This is a contemporary record of a significant event in Orbost. It reflects the involvement of Orbost, a small town, in the efforts of the Australian Red Cross Society to provide comforts to soldiers during World war 1.A black / white photograph / postcard of four ladies and one little girl dressed in Red Cross outfits standing in front of a cart loaded with patriotic goods for sale. A sign on the cart has ":SOLDIERS' COMFORTS" on iton back is a list of namesorbost-red-cross ww1

This image is a reproduction of an 1899 original depicting the 'Williams Good Luck Mine' on the Mopoke Reef (also called 'Morepork Gully') in the Dingle Ranges, approximately three miles from Beechworth. The foreground of the image is littered with piles of smashed rock and detritus, known as ‘mullock’, beside a reinforced mine shaft, a vertical access passageway allowing miners to enter the mine and haul ore out using lifting technology such as a poppet heads, whims or windlasses. A group of miners and a dog appear close to an open-sided miner’s hut. Following the discovery of gold at Beechworth in 1852, rushes quickly followed at surrounding creeks and gullies in the district. In the late nineteenth and early twentieth centuries, small syndicates of miners continued to work old or abandoned quartz reefs, often persisting without the assistance of heavy machinery to remove the large amounts of rock, in order to obtain yields at ever greater depths. The group of miners in this photograph are Mr. Roger Williams and Sons, who revived operations at the ‘Old Good Luck’ mine on the Mopoke Reef in the Dingle Range near Beechworth around 1892, working the site for more than two decades. An emigrant from Cornwall with experience in the tin mining industry, 19 year old Roger Williams senior sailed to New Zealand in 1840, then to Australia where he spent time in the Bendigo Gold Fields before settling in Beechworth in the early 1860s. Mr Williams senior worked on various mining activities in the district, including the Rocky Mountain Tunnel project. Conversant with the character of gold-bearing reefs in the area, the syndicate dug an eight hundred foot tunnel, digging down as far down as two hundred feet with little capital save their labour, to connect and provide better working access to the mass of reefs and veins in the vicinity. Progress was hampered by poor air quality charged with fumes from dynamite and large quantities of rock had to be crushed to obtain payable yields. The Victorian Goldfields are filled with ruins and remnants of the area's rich mining history, ranging from small alluvial diggings to the remains of huge mining companies. Site names often changed several times throughout the nineteenth and twentieth centuries. Some sites were abandoned and forgotten, others were worked continuously over many decades. The names of mines were often repeated at different locations throughout the Victorian Goldfields. For example, there is a Mopoke Gully heritage mine near Fryers Creek, Victoria. 'Mopoke' is a common onomatopoeic name for Morepork and Australian Boobook owls. This image has historical, social and research significance for patterns of emigration during of the Victorian Gold Rush, and the historical, social and environmental impacts of mining at Beechworth at the turn of the nineteenth and twentieth centuries. As gold became scarce and government support and large company investment waned, poor hard-working miners laboured intensively to make a living through periods of high unemployment. This image can be compared and studied alongside other historical mining photographs and objects in the Burke Museum Collection. It has potential to improve our understanding of miners working conditions and the shifting character of mining in the Beechworth district. Black and white rectangular reproduction photograph printed on matte photographic paper.Obverse: Williams Good Luck Mine Beechworth / Roger! / Reverse: 6858 / burke museum, beechworth museum, beechworth, gold fields, gold rush, victorian gold rush, gold ming history, colonial australia, australian gold rushes, mining technology, beechworth historic district, indigo gold trail, migration, indigo shire, good luck gold mine, victorian goldfields, mining syndicates, gold fever, quartz-mining, small-scale mining, old good luck mine, mopoke gully, quartz reefs beechworth

The photograph printed on this postcard comes from the collection of the Mitchell Library in Sydney. It is sepia in tone and depicts seven men standing and sitting around a mine shaft in the Beechworth region. The photograph has been dated to approximately 1872. This period in history post-dates the Victorian gold rushes which occurred 1852-1853 in Ballarat, Bendigo and Beechworth. During this period, in the 1870s, the surface alluvial gold had been discovered and removed from location. Therefore, in order to reach the deeper and less accessible alluvial gold, diggers began to dig shafts into the earth. These shafts sunk below the ground level by 20 to 30 feet and required timber structures around the entrance and winches to bring the paydirt to the top. The top of this wooden structure is visible behind the man standing in the upper right of the image. This type of mining was highly dangerous as mines often caved in which injured the minors and often resulted in death. Thus, following this period, in the early 1900s, miners opted instead for hydrolic slucing which cut away the earth without the devastating consequences of a mine cave in. This particular group of miners appear to have been unable to afford a horse (then worth around 50 pounds) which were generally used at mines like this to help pull buckets attached to ropes up and down the mine. Instead, this group brought the buckets up and down by windlass. The windlass was a wooden structure mounted over the mining shaft and fitted with a hand-cranked winch which enabled the bucket attached to the rope to be brought up and down.Gold was first discovered in Beechworth in Spring and Reid's Creek in the summer of 1852-1853. At its popularity, this region had approximately 8000 people on the gold fields searching for gold on the banks of these creeks. These periods did not require the use of heavy machinery or the digging of deep mining shafts like the one depicted in this image. Therefore, this image has important connotations for the technologies associated with mining during the approximated 1870s when gold was harder to access. This is a later period in gold history which does not fit into the "gold rush" period. Instead, it occurred after the surface gold had disappeared and therefore, is essential for researchers who are investigating the mining techniques and structures used to reach the alluvial gold which was located deeper under ground in the 1870s. This period predates the use of big heavy machinery used to mine in the 1900s which include dredges. Images such as this one can also impart essential information as to the wardrobe and fashion of men during this period. It also imparts knowledge about the landscape of Beechworth which is useful for people researching the environment and impact of gold mining in the north-east region of Victoria. In addition, since this image is a postcard reproduction of an early Australian image which may date to approximately 1990 it can impart knowledge as to the interests of people during this time period when there may have been an increase into Australian history.A sepia tone facsimile of an early Australian photograph (circa 1872) printed as a postcard.Obverse: BEECHWORTH / Victoria, Australia / Reverse: GM 2 3275 / CORRESPONDENCE / AUSTRALIAN / YESTERYEAR / CARDS / ADDRESS / Published by George Symons (057) 65 3240 / THE MINEHEAD C. 1872 / The easily gleaned gold of the early fields did / not last very long. In order to reach less / accessible alluvial gold diggers began sinking shafts as much as twenty to thirty feet down / and the mines required timbering and winches / to bring the paydirt to the top. / This syndicate has been unable to afford the / luxury of a horse (about 50 pounds) and so everything / must go up and down by windlass and rawhide / bucket. / Photo: Mitchell Library, Sydney / A sepia tone facsimile of / an early Australian photographmining album, gold mine, beechworth, burke museum, mine shaft, postcard, australian yesteryear cards, george symons, the minehead, gold fields, alluvial gold, early australia, c.1872, 1872, gold diggers, north east victoria

This photograph depicts a man in dark clothing, standing in front of a cut away section of earth. He is undertaking hydraulic sluicing, which involves the use of high powered hoses, in order to cut away the earth which can then be sifted for gold. There is a single tree in the background and the earth contains numerous signs of damage because of the mining. Beechworth become a mining settlement after the discovery of gold in 1852. Gold fever had already spread across Australia's colonies and the American states. Sluicing the landscape for gold, as shown in this photograph, was done by diverting water and washing away the lighter dirt, allowing the gold particles to sift down in to catchments for collection. In Beechworth, there was considerable discontent caused by attempts to restrict water use for sluicing to those with certain 'water rights'. The extensive use of hydraulic sluicing, and the washing away of top soils has continued to impact the surrounds of Beechworth in to the present day. Sluicing as a method for gold mining which was widespread across Victoria during the 1870s. The erosion of the top soil in search of gold has a continuing environmental impact on the landscape and this photograph depicts but one example of this occurring and can provide much information to a researcher interested in understanding the history of gold mining in Victoria. This image of the miner and hose is historically important because it demonstrates the methods of goldmining employed in the later years of the goldrush at Beechworth. It shows how much land is washed away by the use of this technology. The image has good interpretive capacity because it allows researchers to see a different mining technique to what is usually presented. Black and white square photograph on card.reverse: 84-50-3 / 1997 3141 / smdsluicing, goldmining, beechworth, burke museum, miners, gold miners, gold sluicing, environmental impact

A Carte de Visite (hereafter CdV) (also known as a calling card) was popular within the mid-19th Century. It is a small card with a photographic portrait mounted on it. These cards were exchanged during the Victorian era (peaking in the 1860s) between families and friends. This particular CdV was captured by James Bray in c.1870. Bray who worked as a professional photographer in Camp Street Beechworth from 1870-1891. He was one of four men who photographed the Kelly Gang after the siege in Glenrowan in 1880. He is also renowned for his previous work photographing members of the Kelly gang. Depicted in this photograph is Isaiah “Wild” Wright. Wright was born in approximately 1846 in County Monaghan, Ireland. At age 11, Wright arrived with his father John Wright, mother Margaret and younger siblings in Victoria on the 9th of July 1857. They sailed on the ship ‘Carleton’ which left from Liverpool in England. Wright was stood 5 foot 11 inches tall and had brown hair with hazel eyes. He had a scar on the inside corner of his left eyebrow, a large scar on his right cheek and a scar on the back of his head. Over the years in Australia, Wright was sentenced on numerous (particularly of horse theft) charges and spent time in Pentridge, Hulk Sacramento and Hulk Sandridge. Wright married Bridget Lloyd in 1973. Through this marriage he was connected to the Kelly family as Bridget’s mother was one of Ellen Kelly’s (Ellen was the mother of Edward “Ned” Kelly) sisters. Wright is famous for his participation in the horse stealing incident of 1871 and subsequent bare knuckle fight against Ned Kelly that occurred in 1874. In 1878, Bridget and Isaiah Wright became parents to John "Jack" Thomas Wright. Jack Wright was an Australian rules footballer who played for Geelong in the Victorian Football League 1902-1906. Wright passed away on the 29th of May 1911.This photograph is part of the Burke Museum "Kelly album" which includes a significant collection of photographs and artefacts connected to Ned Kelly and the Kelly Gang. Ned Kelly and his gang have become ingrained in Australian popular culture and thus many museums, art galleries and private collections house material connected to the Kelly story which allows the events and people to be researched and interpreted. Individuals like Isaiah “Wild” Wright played an essential part in the Kelly story which have been enlarged and adapted for popular culture. The study of these individuals thorugh their images and records can help researchers to correctly interpret their involvement with Ned Kelly and the Kelly gang. Artefacts and photographs pertaining to the Kelly gang are particularly valuable for Australian museums. This particular photograph is significant for its connection to Beechworth photographer James Bray who is responsible for many images depicting members of the Kelly Gang. Sepia oval CDV printed on Card. Obverse: J.E. Bray/ Photo Reverse: 10238 Portrait & Landscape/ Photographer J E Bray Signature Beechworth/ Victoria/ Negatives Kept. Copies 5I/. Each May/ Be Had By Forwarding Name And Address/ Accompanied With Remittance To/ The Amount Of Order/ Photographs Coloured In Watercolourskelly album, kelly gang, beechworth, wild wright, boxing, burke museum, imperial hotel, bare-knuckle boxing, isaiah wright, ned kelly, isaiah wild wright, horse theft, hulk sacramento, calling card, pentridge, james bray, cdv, carte de visite

Taken in 1944 in Bonegilla, Victoria, this photograph depicts soldiers of the 1st Australian Corps Signals training battalion releasing carrier pigeons from a portable loft for their daily exercise.The 1st Australian Corps Signals was a branch of the Australian Imperial Airforce that was active during World War Two. One of the tasked carried out by 1st Australian Corps Signals was to send messages through the use of carrier pigeons. Carrier pigeons were most commonly used by the Allied Forces to send messages from the front line trenches or advancing units.Black and white square reproduced photograph on rectangular archival paperObverse: Bonegilla Victoria 1944 - 05 - 03 Carrier pigeons being released for their daily exercise/ from a portable loft of the 1st Signals training Battlion/ copied from the Australian War Memorial No 066265 Order No 2319835 Copyright/ permission for the collection of/ Robert O'Hara Burke Memorial Museum Beechworth/ Reverse: 7993.1military album, beechworth, burke museum, military, world war 2, ww2, australian army, bonegilla, pigeons

This Engine Room section of a ship's telegraph system was part of the equipment of the Ports and Harbour ship the SS Rip. The vessel serviced and maintained the lights and buoys at Port Phillip Bay and Queenscliffe. The SS Rip was possibly the former gunboat "Albert". The ship’s communication system that was used from the late 19th century to early-to-mid-20th-century is called an Engine Order Telegraph (E.O.T.) or ship’s telegraph. The system has two parts, the Bridge Section and the Engine Room Section. The Bridge Section is usually mounted on top of a pedestal, and the Engine Room Section is often attached to a vertical surface. The standard commands printed or stamped onto the dial are the directions of AHEAD and ASTERN, and the speeds of STOP, FULL, EASY, STD. BY. and FIN. ENG. The ship’s pilot on the Bridge of a vessel sends his Orders for speed and direction to the to the Engine Room with the E.O.T. He moves the lever or levers, depending on the number of engines the ship has, to change the indicator on the Bridge Section’s dial to point in the new direction and speed of travel. This change causes the Orders to be duplicated on the Engine Room Section’s dial and a bell to signal the change simultaneously. The engineer then adjusts the ship’s engines and steering equipment to follow the pilot’s Order. The manufacturer, Mulne Bros., was a copper and brass works at 166 Sussex Street Sydney, in December 1892, and previously from 1870 at 128 to 130 Sussex Street. The company made and sold a wide range of equipment including machinery and gauges for the Railways.The Engine Room section is significant for being part of the communications system on the ship SS Rip, owned by Melbourne's Ports & Harbours department and used to service and maintain the navigation signals of Port Phillip Bay and at Queenscliffe in the mid-20th century. The dial is an example of marine equipment made in Australia and used for the safety of Victorian vessels. It is also significant for being made by an early Australian manufacturer, Milne Brothers of Sydney.Engine Room Section of a ship’s telegraph or Engine Order Telegraph (E.O.T.). The round metal dial has inscriptions stamped around the edges. The inscriptions are nautical terms for direction and speed and include the maker’s details. The dial was made by Milne Bros. of Sydney. It was part of the equipment on the "SS Rip" in Victoria.Black paint around dial: "MILNE BROS. / MAKERS / SYDNEY" "FULL EASY STD. BY " "FIN ENG. EASY FULL" ""ASTERN" "STOP" "AHEAD"flagstaff hill, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, marine technology, marine communications, engine order telegraph, e.o.t., ship’s telegraph, bridge section, engine room section, ship’s engine telegraph section, marine telegraph, milne bros., milne brothers, sydney, copper and brass works, ports & harbours ship, ss rip, gunboat albert, service ship, maintenance ship

This artifact is a large brass bell. It was retrieved from the Schomberg wreck by local divers in the 1970s. Its location at the wreck site was described as "found on the west side towards the stern" the vessel remains lying on a north-south axis, with the bow pointing towards the shore as a result the bell was assessed from this position to have formed part of the cargo. The view that this was not a ship's bell belonging to the Schomberg is gained from two other 'Schomberg Bells' in the Flagstaff Hill collection, both of which have the vessel's name prominently etched into their outer surface. Additional indications indicate that this bell was not intended for maritime use due to the bell's rounded 'bell-curve' shape suggesting it was melodically tunable. Also the detailed basket-type fittings on the bell dome that would allow the bell to be suspended by ropes rather than just bolted to a yoke. The bell is currently on display at Flagstaff Hill, categorised as a church bell part of the Schomberg's cargo that was intended for use in a church within the Victorian colony. As the Colony of Victoria became more established, and its population expanded with the Gold Rush and other emigration from Britain, the demand for regular religious services and permanent church buildings also grew. We will never know if this bell was a specific order or part of an enterprising bell founder's consignment of general stock to a wholesale supplier in Melbourne. A cargo manifest for the Schomberg has unfortunately never been found. The shipwreck of the Schomberg is regarded as of significance to Victoria and is registered on the states Heritage list (S 612). The Schomberg wreck has great historical significance as a rare example of a mid 19th century large, fast clipper ship intended to transport cargo and passengers between England and Australia. The vessel that carried this bell represents the marine advances made in an attempt to break established sailing records between Europe and Australia. Flagstaff Hill holds a noteworthy collection of artefacts from the Schomberg shipwreck. The collection as a whole is primarily significant because of the relationship the objects have archaeologically, not only to highlight the story of the Schomberg ship and later it's wrecking but have an important potential to interpret the story and progression of maritime shipping in the 19th century. The church bell has a standard bell-curve shape and is dull bronze in colour. A large brass bell, plain and without visible maker marks, but with traditionally intricate basket-type cast fittings for suspension from a yoke by a number of ropes or chains. Approximately 3/8 of the bell’s outer surface bears a thin layer of marine growth and limestone accretion, and there is some minor pitting and spots of light verdigris over the remainder. The bell mouth, or lip, is slightly compressed-in in two places. It was retrieved from the wreck of the Schomberg. None warrnambool, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, schomberg, shipwrecked-artefact, clipper ship, black ball line, 1855 shipwreck, aberdeen clipper ship, captain forbes, peterborough shipwreck, ss queen, brass bell, church bell

Charity organisation, Ladies' Harbour Lights Guild,was formed within The Missions to Seamen Institute to provide a home away from home, for visiting seamen. The flyer was to recruit members. The flyer mentions the sinking of the Titanic in 1912 and the bravery of the seamen staying in the engine room. The flyer mentions also Lady Talbot Margaret Jane nee Stuart-Wortley (1855-1937), wife of Governor Reginald Taldot, actively promoted advanced social welfare projects.This paper flyer holds historical significance at a local level because it illustrates the Ladies' Harbour Lights Guild involvement in the Mission to Seafarers.The Ladies' Harbour Lights Guild formally named in 1907 grew to become a significant charity in Melbourne raising large amounts of money which helped to establish the current MTSV building, supporting seafarers. In 1960s the LHLG merged with the Flying Angels Club of the MTSV.A cream colour paper flyer describing in blue ink the work and value of membership of The Ladies' Harbour Lights Guild, in order to recruit new members. Also includes a photocopy of the flyer. (2 copies)The photocopy of the original has written in blue "1912". ladies' harbour lights guild, australian wharf, chapel, ephemera, titanic, 1912, lhlg, mission to seamen, seamens' mission, mission to seafarers, alice sibthorpe tracy, reverend alfred gurney goldsmith, philanthropy, charity, welfare, sailors, tragedy, heroism, honorary members, working members, norwegian, foreign language, pit, card game, animal grab, le jeu des animaux, margaret jane (née stuart-wortley), lady talbot, lady margaret jane talbot (nee stuart-wortley), ethel augusta godfrey 1861-1935, knitting, woolies

The charity organisation, Ladies' Harbour Lights Guild, was formed within the Missions to Seamen Institute to provide a home away from home, for visiting seamen. The flyer was to recruit new members or for former Members of the charity to renew their subscription. The patroness was always the governor's wife: here the Countess of Stradbroke whose husband, the Earl of Stradbroke was governor of Victoria between 1921 to 1926.This paper flyer holds historical significance at a local level because it illustrates the Ladies' Harbour Lights Guild involvement in the Mission to Seafarers.The Ladies' Harbour Lights Guild grew to become a significant charity in Melbourne raising large amounts of money which helped to establish the current MTS building, supporting seafarers.Cream colour paper flyer's in blue ink that are also subscription forms in order to become Honorary Members/Working/School Members or renewals of previous Membership of the Ladies' Harbour Lights Guild. (9 copies)missions to seamen institute, ladies' harbour lights guild, australian wharf, lhlg, subscriptions, countess of stradbroke, patroness, lady irvine, lady creswell, lady madden, the lady mayoress, ethel augusta godfrey 1861-1935, miss b. peebles, alice sibthorpe tracy

This 1813 cannon is classified as a carronade, having been made by the Carron Ironworks foundry in Stirling, Scotland in 1813. It is a large calibre, short range, gun mainly used on ships. The carronade model of cannon was first used when introduced into the British Royal Navy in the American War of the Revolution (1775-1883). This cannon was originally a 28pdr, 48cwt, 8ft gun. The date ‘1837’ on the barrel probably indicates the date that the Board of Ordinance accepted the change in size to a 32pdr. It may originally have been a naval gun and the conversion undertaken when it was brought ashore. It is very probably one of the 15 guns that are known to have constituted the defences of Victoria in 1860. This group of 32pdrs was the shorter model of the 4800width and 8ft length cannon and as such are different from the 32pdrs found in NSW. It was originally located on Cannon Hill in Warrnambool when it was the site of the Warrnambool Battery Western Artillery, formed in 1866. It was obsolete by the time of the 1887 fortifications, and was moved from the Warrnambool Fortifications to the Botanic Gardens in 1910, when the Fortifications were declared obsolete. HISTORIC INFORMATION ABOUT THE CANNON IN THE WARRNAMBOOL AREA In the years following the Crimean War (1854-1857J) there was a great concern in the Colony that Imperial Russia would attempt an invasion. Coastal defences in the colony of Victoria were greatly strengthened by the Government as a result. Warrnambool was originally protected by cannons at Cannon Hill, approximately 1 kilometer west of the Flagstaff Hill Fortifications. The cannons included two 1866 guns, both 80 Pound Rifled Muzzle Loaders (RML) purchased by Victoria’s Colonial Government. They were part of a shipment of 26 such guns sent from England in December 1866. They are registered as No. 23 (80cwt-2qr-0lbs) - Gun 1, and No.13 (81cwt-1qr-12lbs) - Gun 2. They were cast at the Royal Gun Factory, Woolwich Arsenal, in 1866 and have a 6.3 inch bore. Both barrels carry the Royal Cypher of Queen Victoria, Insignia of the Royal Engineers, within the Garter and Motto surmounted by the Crown, with the Royal Cypher of Queen Victoria within the Garter (letters in centre “VR”, motto “HONI SOIT QUI MAL Y PENSE”, "Shame be to him who thinks evil of it."). The guns were originally supplied with wooden carriages. (The Royal Arsenal at Woolwich, England, was established eleven years after the Restoration of King Charles II. It was the principal supplier of armaments to the British and Empire Governments. At the height of its operations during World War One the factory covered 1300 acres and employed very nearly 80,000 workers. Woolwich was the Headquarters of the Royal Artillery since the raising of that Regiment in 1716. The Arsenal was closed in the late 1960’s.) The two 80pdr cannons were transferred to the Warrnambool Garrison Artillery Battery Fortifications erected at Flagstaff Hill in 1887 as part of Victoria’s Coastal Defences. The original wooden carriages were subsequently replaced with the present iron garrison carriages in 1888. They are a “C” pivot. The ‘racers’ or curved track set into the floor of the gun emplacement (which enabled the guns to be traversed more quickly) are as specified for guns up to 10 inch, being of wrought iron 2.78 inches wide. A temporary third gun, now no longer on Flagstaff Hill’s site, was a 5 inch Rifled Breech Loading (BL) Armstrong gun mounted on an Elswick hydro pneumatic disappearing carriage It was faster to load and fire than the 80 pound RMLs and its arrival spelt the end of the older 80 pound guns’ useful life, apart from being used for practice sessions. The 5 inch BL gun was the main defensive weapon of the Warrnambool Battery until the Battery was downgraded in importance and the gun was recalled to Melbourne in 1910. The gun emplacement still remains in place set between the 2 80pdr cannon. The State of Victoria took over the ownership of the guns at the time of Australian Federation in 1901. In about 1901/1902 the Garrison Battery was converted to the Warrnambool Battery of the Australian Field Artillery (No 4 Field Battery). It was equipped with 4.7 inch naval guns mounted on field carriages. They were now a mobile unit but continued to use the Warrnambool Garrison area at Flagstaff Hill for practice. When the Fortifications were declared obsolete the two 80 Pounder RML were relocated to Cannon Hill in 1910. On the outbreak of World War 1 the 4.7 inch guns were recalled to Melbourne, and the Battery was disbanded. Most of the personnel probably re-enlisted in the local 4th Australian Light Horse Regiment. The two 80 Pounder RML were moved back to the Fortifications in 1973. They were both fully restored by Army First Year Apprentices at the Ordinance Factory in Bendigo in time for the centenary year of the fortifications in 1987. The guns are capable of firing 80 pound (32.3kg) armour piercing exploding shells 3.65kms out to sea. They were original manned by volunteers before a paid Garrison was established. Now the Guns are again fired by volunteers on Special Event days. Since restoration the Gun Number 1 had been fired on a regular basis but Gun Number 2 hadn’t been fired since the mid 1990’s. In April 2015 Gun Number 2 was serviced in preparation for the firing of both cannons on the ANZAC Centenary commemorations on April 25th 2015. Other guns from the original Cannon Hill location were obsolete by the time the 1887 Warrnambool Garrison Artillery Battery was built. These guns are (1) a 32 Pounder Muzzle Loading Smooth Bore (SB) cast in 1813 at the famous Carron Foundry, number 80837 and now located in the Warrnambool Botanic Gardens. It is now mounted on a replica carriage due to the original carriage being in a fragile condition (the original carriage stored under cover at Flagstaff Hill). (2) a 68 Pounder Muzzle Loading Smooth Bore cast in 1861 at the equally august Low Moor Foundry, number 10310 and now located on the lawn area at the entrance to Flagstaff Hill Maritime Village. It is still mounted on its original wooden garrison carriage. Its wooden slide compressor mechanism is fragile and now kept in Flagstaff Hill’s storage. There are only seven 32 Pounder SB made by Carron and fifteen 68 Pounder SB made at Low Moor known to exist in the State of Victoria Plaque attached to the carriage “This replica carriage was constructed by the Warrnambool Tritan Woodworkers club in conjunction with the generosity of local businesses and the Warrnambool community. The original carriage (circa 1860) was removed for restoration and is now located at Flagstaff Hill Maritime Village. The timber used for the replica carriage is Monterey Cypress, which was an early planting in the gardens. 2010 marked the centenary of the cannon’s relocation in the Warrnambool Botanic Gardens.” (Reference; Victorian Guns and Cannons, South Western Victoria Assessment, May 2008, item W/B/01; Flagstaff Hill Maritime Village datasheets and archives). There are only seven 32 Pounder SB made by Carron known to exist in the State of Victoria and this is one of them. On a world level, this cannon represents a high level of rarity. Further, as it has been modified (bored up) it is representative of the historical process of amending artillery in order to ensure a longer usefulness of each piece despite rapidly advancing artillery technology. The number of surviving carriages with traversing slides in this group in South Western Victoria is unique in Australia and probably in the World. Out of 10 such platforms surviving in Australia, the South Western Victorian group has half. Several survive around the world but probably not in such a large group. The wooden sliding compressor mechanism belonging to this cannon is extremely rare, and the only one in this South Western Victorian group of Guns and Cannons. As a whole, this cannon has undergone very little restoration or modification, giving it a high level of integrity. The City of Warrnambool is one of several custodians of a collection of artillery pieces of heritage significance at a state, national and international level. These pieces are directly related to the defence of south-west Victoria in the 19th century. The care and preservation come under the Heritage Act 1995. (Reference; Victorian Guns and Cannons, South Western Victoria Assessment, May 2008).Cannon, or carronade, 32pdr with wheels. Muzzle loading smooth bore (SB) cannon. Cannon has original wooden Burmese Teak carriage and slide with wrought iron fittings and iron wheels. Manufactured by Carron in Scotland, in 1813. It has been converted from a 28pdr. There is a loop for a rope on the cascabel, which was part of the original casting. Re-bored in 1837. Marks include Serial Number, Royal Cypher of King George III, broad arrow of proofing, and numbers to represent the weight. NOTE: The cannon is displayed in the Warrnambool Botanic Gardens and is mounted on a replica wooden carriage; the original wooden carriage is now stored under cover at Flagstaff Hill Maritime Village. This carriage has 4 wheels on swivel attachments and a central gear that allows the wheels to turn on rails. Pressed into left trunnion “80837 / CARRON / 1813”, cast on barrel“symbol (Royal Cypher of King George III”, “symbol (broad arrow of proofing)” and numbers “45-3-24 / 1837” . Cascable “CV” and marks with gradations from nought to three in quarters on each side, On the carriage the end of one of the main slide members carries the mark “W symbol (broad arrow) D” incised into the timber. Plaque attached to the carriage by the Warrnambool Tritan Woodworkers club, 2010, marking the centenary of the cannon’s relocation in the Warrnambool Botanic Gardens and the addition of the replica carriage. flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, victoria’s coastal defences, warrnambool fortification, warrnambool garrison battery, ordinance, armaments, cannon hill fortifications, victorian colonial government, carron ironwroks foundary, 32pdr smooth bore cannon, 28pdr smooth bore cannon, 1813 cannon, carronade

This is a photograph of Jack Warren, Bon Trewin, Enid Eaton, Linda Warren, Ivan Trewin and Jim Trewin. The photographer was Warren, Helena (1871-1962) who was a self-taught photographer who became both the local press correspondent and a producer of humorous trompe l'oeil postcard images. Helena Warren was a thirty-two year old settler living on a small mixed farm with her husband, William, at Newmerella, near Orbost in Gippsland, Victoria, when she bought her first camera, an Austral Box quarter-plate. Her family says she was entirely self-taught, like many women photographers who started out with nothing but the instructions on the packets of film and chemicals. In over fifty years practice she graduated from the total novice, who opened all her first mail order plates in bright sunlight and ruined them, to a competent photographer who became both the local press correspondent and an inveterate producer of humorous trompe l’oeil postcard images.This photograph has significance in its association with Helen Frances Warren, a popular Orbost identity who was well known as an accomplished photographer and needleworker.A black / white photograph of si small children sitting in a pumpkin on water. There is a Union Jack at one end and an Australian flag at the other,. On the side is "HMAS ORBOST"pumpkins-orbost warren-helena-photographer trewin-bon trewin-ivan trewin-jim warren-jack warren-linda eaton-enid